Abrasive Audio – The Hideous, The Diabolical, The Obscene and the Serene

The Hideous, The Diabolical, The Obscene and the Serene (Part the Fifth)

Greetings, and welcome to yet another variation on the Abrasive Audio medium hosted by your dark souled degenerate host, namely me, B.
Admittedly, I’m playing catch up. I’ve been absent for a while and it appears Cult is having a hard time juggling adulting duties, the accursed three letter word and numerous other mundane reduces which fill his dull existence. So, I’m here to step in. Now I can only assume that the object of this faction of the AA stable is centered around art, with only a short commentary on the actual audio itself? And now its what I deem it to be, expect silliness, dark humor, grammatical mishaps and an odd naughty word or two and I’ll even toss in a score based on my own enjoyment. Hey, I can get down with this revamped setup. I’ve even finagled a handy-dandy new collage especially to go with this segment. Let’s explore that which is on offer.
Starting with…

Horrifying (Chile) – Dreadful Parasomnia
March 24 (Veins Full of Wrath Productions)

The Art
Now, if you’re anything like me this image is undeniably engrossing, utterly fascinating. Obvious similarities exist to a slew of releases (art wise), chief among them Morbid Angel’s Altars of Madness. Others of similar ilk are swirling in somewhat of a blur motif, caused in all likelihood by the fact that A.o.M was released over thirty-five years ago. For those who weren’t around when this gem dropped, let me tell you it was literally ground-shaking. An album of epic proportions for the genre, and a milestone for an act that only seemed to gain diabolical prowess with maturity. But enough about Azagthoth, Vincent and crew. Let’s get back on track here.
Dreadful Parasomnia boasts a bubble of torment, a tableau of visages encased in a myriad of emotion. Screaming, smirking, smug, horrified and enraged (there’s an album if ever I’ve typed one), there’s a recognizable vibe here for anyone who’s ever unwillingly dated a psychotic. But it doesn’t stop there. For some reason the art also puts me in mind of a melting fella from an underrated film showcasing the wicked talents of Rick Baker. Something about an individual returning from space to find that he’s allergic to the inner lining of his encumbering astronaut suit. For some reason his reaction is akin to cheese on high heat as seen over time in the microwave. Poor chap gets to literally witness the side of his face in close up technicolor as his eyeball plummets from the socket. The colors on display here also remind me of the same movie. Yellows, icky greens, pus, rot, and decay and in all likelihood a splash of vomit. A glorious slab of art that’s certain to grab the attention, as well spawn a few most probably deserved nightmares. Kudos to the hugely talented person responsible.

https://veinsprods.bandcamp.com/album/dreadful-parasomnia

The Audio
In their close to fifteen year existence it is hard to fathom that this is the bands debut (full-length). Harder still with the albums quality in mind. This is damned good audio. The tone, the aura, the overall stunning OSDM motif lends one to believe these guys have done their homework, as well practiced all the moves. There’s diabolical menace on display here (ala The legendary Floridian act mentioned above), as well enough spiderlike fretboard manipulations to incite metaphoric boners (because let’s face it not all DM fans sport strictly stand up to piss chromosomes) within the ‘DM-has-to-be-technical-rather-than-mere-chuggery’ community. However, that’s not all. Dissonance flutters about like a drunken, wounded, butterfly somehow finding its way to the finest locations, the vocals are top-notch, unhurried, somewhat decipherable, and wicked pace variances add to the overall enjoyment. In fact, I’m of the mind that there’s close to nothing about this audio affair that I don’t find impressively enthralling. This reeks of OSDM worship yet stands upon its own stellar merits. So why is it then that this isn’t being mentioned more? Message boards, social media posts, utterances from the elderly and infirm wondering around in a state of drug addled delusion. I have not a clue, but I’m hoping my scribbles might in some small way help to change the situation.
Let it be noted that I appreciate this and reward it with the highest of approval.

100

Torturers Lobby (USA) – Deadened Nerves
June 24 (Caligari Records)

The Art
At first glance one might wonder upon that which stares back at the retinas. A lime green neon image showcasing the remains of something being picked upon by a ravenous bird. The whole appears splattered with a crimson tainted liquid of sorts, likely blood? Is this a still image carried upon a lens which has somehow found itself part of the carnage. Are the remains that of the cameraman squealing in pain as the machine continues to execute its pre-programmed demands? I’m getting Cannibal Holocaust vibes which leaves me silly excited for the mysteries encased within.

https://caligarirecords.bandcamp.com/album/deadened-nerves

The Audio
Not sure what to expect I was greeted with audio that’s swirling and frenzied, sporting a dizzying transformative nature that’s admittedly rather puzzling. Typically when faced with audio such as this I tend to tune out. It’s often just too much to comprehend, warranting several listens to piece together. Thankfully, that’s not the case here. Compositions here bleed and blend a variety of genre influence; blistering speed metal riffs, hard rock hooks, Alternate meanderings, Punk attitude, Crossover vocals, and definite BM sensibilities mesh to leave ones head spinning. And it all somehow works, albeit in a manner that invokes memories of yesteryear, snatches of unforgettable audio, over time compiled  etching an individual taste palette.
Impressive to an Nth degree.

96

Desolus (USA) – System Shock
May 24 (Hells Headbangers)

The Art
Well, this image certainly makes one sit up and take note. A blistering landscape, a portal cracking the horizon, a smirking demonic type figure taking the place of the sun, and a gaping fissure in the foreground hemorrhaging zombie demon type entities. This has me seriously pondering upon a slew of past dreams following an intimate evening spent with discounted gas station sushi, hooch and hours spent lazily absorbing decades old sit coms. Paradise, I tell ya.

https://desolus-us.bandcamp.com/album/system-shock

The Audio
Hankering for raw speed, biting vocals and minimal progressive elements? Of course you are. Bored of supposed ‘Thrash’, audio which doesn’t transport you back thirty years to when viciousness and Tuetonic acts ruled the scene? Well, your search has finally produced results worthy of praise.
Desolus do not fuck around (sorry kiddos, I often brandish the dirtiest of potty mouths). Theirs is a style which cuts to the chase and boasts zero fat. Likely how a hybrid of early Slayer, vintage Kreator and classic Sodom might sound, heaped with a generous helping of South American aggression. This seriously could have been released in the late 80’s and raised zero complaints. Look past the fact that this isn’t altogether that inventive, it hits hard and fast to smother all the pleasure sensors in undeniable nostalgia. Prepare the neck for a workout!

91

Chainsword (Poland) – Born Triumphant
February 24 (Independent)

The Art
Famous for showcasing a many (pierced) titted war beast upon the art of their first full-length offering, as well a style arguably influenced by British Dirge legends Bolt Thrower, Chainsword are at it again. The Art here seems pulled back somewhat. An overhead view of either an epic war campaign (and that folks is where my knowledge of Warhammer 40k ends) or a extreme audio festival within which the band has invited all their friends, family, and any (other) act influenced by the OSDM composition works of Karl Willets, Jo Bench and crew. But who am I kidding? It’s more probable this depicts legions of single mothers attempting to stock up on toiletries during the Covid pandemic.

https://chainsword.bandcamp.com/album/born-triumphant

The Audio
Undeniably and unabashedly influenced Born Triumphant is in all likelihood where fans of the aforementioned act are want to turn their attentions following (BT’s climactic final offering) Those Once Loyal. With that being stated however the compositions here are slightly more diverse than that found upon the aforementioned. Sure, the driving dirge is here, the dense tone and the conflict-based lyrical similarities (be they fantasy or reality based) but I can’t help but be of the inclination that this is more melodic, contains enough groove to get the limbs spastically twitchin’, leans more toward Doom Death arenas, and it must be mentioned there’s a damn sight more soundbites here than BT ever pondered upon utilizing. Both decisions raise zero complaints from me. Overall, this is an impressive offering which sees the band tinker somewhat with the tried, tested and true siege machine parameters of their influences to great effect.

86

Serpent’s Oath (Belgium) – Revelation
March 24 (Odium Records)

The Art
It’s apparently a quiet day in the Great Halls of the Dark Lord. His subjects appear somewhat spent. Perhaps they’ve exerted too much energy within the last orgy-to-end-all-orgies? Moshed a little too hard to the last musical act passing through? Is a simpler explanation too blame? Are the rigors of adulting also exhausting in Hells vast arena? I’ve heard rumors of a recent spiking of the banquets virgin blood supply, though I’m of the opinion that Fentanyl would likely only surge the rampaging throes of wickedness and insatiable lust.
This image captures the attention, offering a porthole into the most diabolical of details within the unholiest of lairs.

https://odiumrecords.bandcamp.com/album/serpents-oath-revelation

The Audio
Basted in scathing and vicious composition values; unmerciful riffs, rhythms reeking of nostalgic tones yet brimming with a wicked intent all their own and a snarling vocal approach sure to excite any Black hearted fan, this assaults with unrepentant fury. Brimming with atmosphere and a melodicism that carves an impression with its frigid might, this incites excitement in all those yearning for speed and grandiose textures blanketed in enigmatic archaic menace.

92

Subterraen (France) – In the Aftermath of Blight
April 24 (Frozen Records)

The Art
Rendered in delicate BnW ink (obviously only black, for those paying close attention) this image portrays either a statue, or an angel of sorts likely taking a smoke break following a successful carnage laden foray into demontown. Sure, the wings appear a little tattered, are definitely in need of a spot of TLC, but the form still appears upright. Exhausted, but standing. Other possibilities include, but are certainly not limited to, an alien form visiting Earth searching for “the newest taste sensation to sweep the galaxy” (points for whoever can pinpoint the quote), and a faded polaroid of a runner up in the Southend-on-Sea 1986 village spring fete dress up parade.

https://subterraenband.bandcamp.com/album/in-the-aftermath-of-blight

The Audio
For all those demanding that this installment include a Doom type release, here it is! There’s little doubt this might be the case when the album comprises of four tracks and is barely shy of forty minutes in length.
Those hoping for a traditional Doom type affair might be disappointed, or rather pleasantly surprised (depending upon their tastes). In the Aftermath of Blight is dramatically not predictable, is multi-layered, epic in texture, and certainly demands a listen, or six, to fully unpack. Chock full of Sludge sensibilities, cinematic atmospheres, prog landscapes littered with a varied composition palette including Post and DeathDoom passages, and offering terrific builds, this is an album that delivers, especially for those with an openminded enough nature to willingly want to embrace what’s on offer. Similar artists are varied and range from the likes of Gojira, YOB, Pallbearer and Paradise Lost.
Admittedly, this isn’t what I had assumed it might be, but it’s hitting the demands of the moment; a brief sojourn on the couch with a beverage and snacks, with not a care in the world.

91

Christ Denied (Spain) – Christopsy
May 24 (Xtreem Music)

The Art
Vivid, wicked and gloriously sacrilegious, this image depicts what might have happened if George R Romero had directed the last supper. There’s an u denial vicious nature slathered across numerous faces of the feasting, whilst others yet have a visage draped in wonderment. …”Like, seriously am I about to partake of the sweetbreads of Christ?” Is it that the disciples are famished? Or perhaps they’re taking the eucharistic to mean literally to ‘eat the body of Christ’. Questions remain, but there’s little doubt that this sublime tableau leaves little to the imagination, sure to excite the gorehounds among us and leave those with a penchant for Glen Barton Deicide/Vital Remains themed DM eager to place the ears upon that which is nestled within. Fun fact; a wafer in the modern day equivalent weighs a quarter of a gram. It would take eating 234,960.85 wafers to literally have ‘consumed’ all 129.5 pounds of the (I’d say somewhat ‘stringy’) Holy bearded fellow.

https://xtreemmusic.bandcamp.com/album/christopsy

The Audio
With an image such as this, one has their digits crossed that the audio is as equally distracting. Admittedly, I’m of two minds about it. The included soundbites, no doubt plucked from a wide array of cinematic productions, are especially effective and truly make one ponder upon the usefulness and abuse perpetrated by religion throughout the ages. The music, quite unlike the aforementioned two acts, is a mixture of Brutal DM, Slam and to a lesser degree Goregrind. Provided rhythms are choppy, crunchy and pulverizing with the vocal accompaniment a filthy mix of growl and bree-bree stylings with the odd excitable frog, likely squeezed a tad too hard for its own liking, tossed in for good measure. It isn’t all up in the air however. There are a few tracks which rise above the rest, a likely combination of ‘pig squeals’ being at a minimum and the tracks technicality being slightly more pronounced. Otherwise there’s a great deal of ‘samey’ going on. This is a hit and miss affair for me no doubt dependent on my mood.
I’m giving this a generous, based on the art, soundbites, and its being more accessible than most in the same arena.

72

Six Feet Under (USA) – Killing for Revenge May 24 (Metal Blade Records)

The Art
“Heads…on a schtick!”
Yeppers, this art showcases a cranium kebab. Messy. I find it interesting that the image here contains the same tones found in another acts imagery. But more specifically, that encasing output unleashed a few years following Mr. Barnes departure (from the act in question).
With the obvious being stated, I’m left wondering how much of an impact it might make? It has my attention, I’m eager, infinitely more intrigued to spin a SFU album, than admittedly I have been in many a year.

https://sixfeetunder.bandcamp.com/album/killing-for-revenge

The Audio
And, this ain’t half bad. I’m pleasantly surprised in fact. There’s little argument that SFU has churned out some real stinkers, so to say I entered here with assumptions is a little of an understatement. But let’s not get too hasty here. This isn’t a landmark album, Killing for Revenge doesn’t break any new ground, nor carve any fresh paths, and Mr. Barnes isn’t resurrecting his glory CC (Butchered, Tomb, The Bleeding) days vocal wise. However, there are moments here, riffs to incite movement, notable tracks sure to alight excitement in those who held out hope that there was something, anything, left. Perhaps there is? Is this the dawning of a new era? It remains to be seen, but there’s definitely a sizable chunk of hope based on what’s bouncing between my ears. I’m liking this a damn sight more than I thought I ever might.
Give it a shot, even though odds are Chris has likely blocked you on Twitter for no reason.

75

That’s it, that’s the end.
B

Abrasive Audio – The Return of B (April 24)

Abrasive Audio (in b sharp)

_{Nope. This isn’t me. Nice headphones tho.}

Greetings, my long-lost friends. It’s been a while. Some of you may wonder where I’ve been, while others will merely skip this introduction to pounce upon the juicy parts, the ‘meat’ if you will.
To keep this short, I’ve only recently found myself. Quite literally. To be lost for a while in foreign surroundings is frustrating, terrifying, and an emotional rollercoaster to most. But for me, it’s a rather fascinating and unforgettable experience. I’ve discovered new lands, a slew of email addresses, and a crowd of faces I’ll likely never terrorize again.
But enough about me. What say we unearth some fresh sensorial shredding tunage? I’ll endeavor to keep this short, painstakingly etching my ponderations upon a one-time listen experience.

Brat (USA) – Social Grace
March 24 (Prosthetic Records)
Naturally, the albums cover gets the mind spinning. As well, it should. A splash of color in an otherwise drab, run of the mill family portrait. The music follows suit. To my knowledge, which is rather limited (so keep those email pounding digits in check), I can’t recall another band of similar ilk, fronted by a  double X chromosome venom-spitting
being. Sure, there are plentiful examples of such within the DM and BM realms, but not necessarily within this, Grindcore/Powerviolence, arena (Pupilslicer after further consideration come to mind).
So, the burning question… How does she (can I even use that phrase anymore without fear of correction and reprimand without first asking?) fair? Exceedingly, well, I’d say. The whole is an experience akin to tumbling from a monstrous cliff face. As one plummets, the landscape transforms at a startling rate. In places, the terrain is jagged, greeting one with undeniable angst, an angularity designed to snap limbs, and shred flesh. In others, the gradient is slightly less devastating, a tumbling sensation complete with a dizzying effect but jarring nevertheless. But much like the experience, the album comes to a close all too soon. Ten tracks in about twenty minutes. Sure, this isn’t enough to sate the true Gatekeepers of the Realm. The purists who believe an affair within this arena should be of a striking similarity to that of the founding pioneers. Perhaps fifteen tracks in four minutes? Thankfully this isn’t so, Brat give the audience a little more to chew upon, theirs is a controlled chaos, a brutality which leaves one wanting more without resorting to flagrant noise – a stylistic nature akin to a television sets, after hours, adieu.
So, are Brat the new darlings of the genre? Perhaps. I’d bet they’d shy away from the term. But the one thing that is neon glaringly obvious is that this leaves a mark, did I mention they’re from Louisiana (a hotbed of Sludge experimentation if ever there was a locale), has a smorgasbord of passages incorporating a slew of “genrelistic” (hell of a word that!) traits to get the juices flowing and is likely to drag fans from as far afield as Dillinger Escape Plan, Acid Bath, EyeHateGod and Brutal Truth (to name but a few) in a blissful album appreciating collective.

93

https://brat504.bandcamp.com/album/social-grace-2

And how about that for an opener?

Ischemic (Canada) – Condemned to the Breaking Wheel
April 24 (Independent)
And the album art here certainly sparks medieval textures. A time within which one feared sharing ‘life hacks’ for fear that they might soon taste the flame whilst attached to a hastily constructed pile of twigs by a collective of religiously mind washed, miniscule intellect, villagers. But enough of my attempts at humor, how does this audio tickle the pleasure receptacles?
First, I feel I must ask. Is this an EP or an album (a full length)? Boasting four tracks, this runs close to thirty minutes. Is an EP subject to the number of tracks therein or the affairs running time? Submit your answers on a postcard and address it to questions that probably should have been posed within the pages of a Douglas Adam’s tome. And another question (while I’m of a curious disposition), what does ‘Ischemic’ actually mean? Research informs me …”it’s a lack of blood flow to a part of the body…”
If I were a medical student, I’d uncontrollably salivate, but I’m not, neither am I a rabid fan of vintage Carcass audio, so let’s move on…
Opening with a thunderous percussive cavalcade, the audio grabs the attention and fast. As the album (?) progresses several genres come to the fore; Old School DM and DeathDoom leading the pack. Undeniable melody crescents the mouth, while an underlying groove elicits the limbs to bounce free of their otherwise static constraints.
In short, the audio flows surprisingly well considering the opening tracks length nearing ten minutes (the remaining three close to the seven minute mark) obviously bring to mind Doom realms. Not surprisingly, is that the style encased here recalls the yesteryear of golden era Peaceville. With stylistic elements sparking My Dying Bride, Anathema, and Paradise Lost nostalgia. Melody is entwined with brutality encased within a dense dirge tone and pace, which is neither too slow nor too fast. The vocal style is exactly what the doctor ordered, with the whole fluid enough to keep the listeners’ attention from the myriad of existence dulling mundane adulting activities.
With the quality on offer here in mind, I can’t fathom why these fellas aren’t on a labels roster. I’m guessing they have their reasons?

https://ischemic.bandcamp.com/album/condemned-to-the-breaking-wheel

90

Blazar (Spain) – Fatal Cosmic Wound
March 24 (Carbonized Records)
This audio offering was a gimme based on the fact that it comprises in part of members from Old School DM peddlers Cruz. Unsurprisingly, the audio here centers upon stratospheric elements, more specifically the unfathomable exapanse of the cosmos.
Stylistically, this is unhurried, sluggish, and undeniably dense. Much the same as… well, you guessed it! What might come as something of a shock (but likely not) arrives in the form of injected Synth elements. Alongside an at times Funeral Doom motif and Sludge tendencies it aids in the overall feel of incomprehensible vastness, adding a chilling, harrowing essence to a tableau of unending encompassing most everything one could imagine, but also infinitely more.
In terms of what this offers think mid- era dirge commanders Bolt Thrower colliding with Irish Doom merchants Mourning Beloveth, with a splash of (yes, I’m famous in part for leaving Morbid Angel prior to them becoming somewhat a household name) Mike Browning helmed Nocturnus, who later reformed with the initials AD (meaning After Death) to stray from copyright infringement litigation.
Understandably not for everyone. This leans more towards those whose tastes are varied and whose mood often dictates listening material. An album to complement those quiet nights in, when it’s just you, a copious amount of mind- altering smokage and a telescope. But that’s only a ‘serving suggestion’, as large companies often print in tiny letters to make something appear more delicious than it actually is. That isn’t an issue here. This goes down smoothly and comes highly recommended.

https://blazardoom.bandcamp.com/album/fatal-cosmic-wound

87

Ett Dödens Maskineri (Sweden)  – Kulterkriget
November 23 (Suicide Records)
Prepare to get smashed!
Although this is delivered with (mostly) Swedish vocals, there’s little argument even without translation that the album overflows with frustration and angst.
Unlike many other offerings following similar parameters, however, this is supremely accessible, akin to vodka without the ‘bite’. Rhythms are criminally easy to get behind, much like, for many, the rhetoric the band hopes to convey. And there’s little doubt that a full play through will leave one smiling like an absolute maniac, dazed, bruised, exhausted, and likely scrambling for texts to support the bands viewpoint and arguments.
Standout elements include varied percussive approaches, including but not limited to Punk sensibilities as well Alternate leanings, varied pace, and varying degrees of palpable angst. I have little doubt that if this wasn’t so anti-establishment in composition, it would feature dominantly on a slew of radio playlists. Huge props in this regard to the band  for “sticking to their guns,” and it should go without mentioning more so for creating an audio collection that’s so readily consumable and thus effective. This is surprisingly listenable and eons removed from that which one might assume based on the materials synopsis. This isn’t your parents’ punk, that’s fer’ damn sure.

https://suiciderecordsswe.bandcamp.com/album/kulturkriget

90

Hyperia (Canada) – The Serpent’s Cycle
November 23 (Independent)
I’m not sure what to make of this album’s cover. A decaying yellow landscape trodden underfoot by a wandering mystic. Topped by the Eye of Sauron? I’m most probably reading too much into it. Perhaps a dissertation on the color yellow is in order?
The audio, however, is on another level entirely.
This is Thrash! It’s vicious and nasty at times, classical tinged in others, with smidges of Power metal sensibilities tossed in wily nily to spice things up.  The musicianship is top notch, the energy level hardly lets up for an instant, the rhythms are boisterous, change at a whim, and evolve with wicked potency. Prog elements are at a minimum, and this doesn’t feature the ‘disjointed’ feeling I’d typically associate with Exodus. This is melodious, features a slew of humorous soundbites, and even a passage or two which recall Speed Metal meets Classical ala The Great Kat (which likely only the true connoisseurs will recognize). But I have yet to mention the vocals. They would truly have to be special in order to fit the albums shred-tastic motifs, and they are indeed. Marlee Ryley has the vocal prowess to fit without qualm within many an extreme audio genre. The albums bonus track, a play on Heart’s ‘Crazy on You,’ proves this point. In this instance and genre, her qualities shine, only making the album that much more enjoyable.
Recc for fans of Thrash, Power, and melodic DM. Don’t sleep on this!

https://hyperiametal.bandcamp.com/album/the-serpents-cycle

88

Coffins (Japan) – Sinister Oath
March 24 (Relapse Records)
A virtual maelstrom of severed hands, a severed head and a cathedral like snail construct. I typically wouldn’t write all these elements off together as something which I could look upon and call insanely wicked as shown here. Suffice to mention that this art has my attention. Now, for those living under a rock, Coffins have been around for twenty-five years, are Japanese and by all accounts boast a discography to leave a fan of the OSDM scene with sopping wet knickers.
It doesn’t take long to find out why this isn’t just merely rumor, or hearsay, but a concrete fact. It isn’t just that the opening track entices you in the Coffins lair, it’s that the following track proceeds to inform you that the lair isn’t that in the slightest, but rather a gaping void. A space within which the listener will gladly accept whatever it is that’s offered. In this case there’s a smorgasbord of audio torture in the offering. Bludgeoning riffs, doom laden harrowing soundscapes, rumbling chaos, groove to loosen limbs from their perch and unadulterated filth; a swampy morass strewn with putrescent unidentifiable detritus which the listener will gladly bath within as this is allowed to slither through the senses. It’s truly difficult to put into words the emotion an album such as this elicits. True, it doesn’t deliver Post or Prog elements, typically associated with the word ’emotion’, this isn’t that type of album or band, but rather a quality (of OSDM) which leaves one dazed, ecstatic and delighted and truly honored to be able to experience.
Forget the posers, the wannabes, those who draped in hype. Coffins are the standard bearers, whose maturation is akin only to a fine wine (perhaps whiskey fits better here?). Though likely a liquid one wouldn’t wish to ingest orally, I could only imagine the internal fallout from such.

https://coffins.bandcamp.com/album/sinister-oath

100
And yes, for those paying attention, that’s my first perfect score!

Lucifuge (Germany) – Hexensabbat
May 24 (Dying Victims Productions)
First off, I love the name.
Fun fact, it’s the title of my absolute favorite ‘pygmy crooner’ album (a gold star for any reader who can name the artist). Secondly, the hyper Frazzetta styled art. It’s gorgeous, vividly adult in tone and rendered in stunning BnW. A Barbarbarian, a Bloody axe and plentiful Boobs. In essence, the three B’s of fantasy. What more could one ask for, seriously? Sure, I’m being a little adolescent here, but it’s all in good fun. As too is the audio. Wickedly swift, manacing, and steeped in homage to the most vicious speed metal of yore it excites, incites movement, throws one back a few decades to nostalgia ville and makes one wish the stereo had an extra volume setting. The album unabashedly wears influences on its sleeves. Another definite aspect of such comes by way of the Hardcore and Punk realms, as heard here in the gruff n blunt vocal approach and through the albums slightly muddy, undoubtedly vinyl throwback, but nevertheless still highly enjoyable, production values.
Thus is a fantastic slab of Blackened Speed made only better by the realization that a single person (Equinox) is responsible, except obviously in the instance of live performances. To make this short, the art brought me here, and I stayed because of the audio and also, again, because of the art.

https://lucifuge666.bandcamp.com/album/hexensabbat

88

Noctem (Spain) – Credo Certe Ne Cras
October 22 (MNRK Heavy)
Blast beats, snarled evil tongues, a hellish unforgiving battery, archaic textures, criminally infectious rhythms, and palpable atmosphere all seeped in stunning ancient mystery. There’s literally nothing here that doesn’t get my ears hard, and dripping in excitement!
This is Blackened death par excellence. While some decide to stay with the heavy hitters and prefer to stay on the same well trodden path, I’ve decided to veer. And I’ve found Noctem. They quell those darkened musical urges with undeniable savagery and precision. Might I suggest a listen, or six?

https://noctem.bandcamp.com/album/credo-certe-ne-cras

96

And, Why the Hell not?

A Recc via @joewebber (Twitter)
Fires in the Distance (USA) – Air Not Meant for Us
April 23 (Prosthetic Records)
It takes but a quick glance at the track titles, the albums name, and the elongated track running times to come to an assumption. This is likely Doom in nature, perhaps with a touch of melodic death tossed in for good measure.
And it is!
But don’t log off just yet!
Whereas some albums might veer too much in a certain direction; either too much of the synth dreamy textures, composition tipping the death scales. Or perhaps it’s likely the two styles don’t mesh. Hey, it happens! In this instance the stars have somehow aligned (nope, sorry, I’m not going to pontificate upon the magnificence or lack thereof in regards to the recent eclipse). This is actually good, damn good. In fact, it’s utterly sublime. The album flows without sounding forced, time loses substance as one becomes transfixed, gleefully immersed in the perfect marriage of melody, heavy and melancholia. Synth elements, although heavy in the mix, perfectly accentuate the evoked emotion courtesy of driving percussion and a vocal style sporting exquisite cadence; a growl of sorts that’s (appreciatively) perfectly decipherable, although I never tjought Id write those words, ever. Think Novembers Doom, at instances Be’lakor and also Insomnium for this is where this delightfully brilliant audio collection resides. This is so impressive, I believe I could honestly spin this several times without getting bored.

https://noctem.bandcamp.com/album/credo-certe-ne-cras

98

And Another Recc

Courtesy of Metalegion Magazine
Varathron (Greece) – The Crimson Temple
December 23 (Agonia Records)
It is truly daunting trying to keep abreast of all that the (metal) scene offers. Especially since there are so may more genres now than there has ever been before. For those in the know, and within BM realms, the name Varathron should be all too familiar. Formed around 88′, theirs is a moniker synonymous with the very foundation of the Hellenic scene. Now imagine, how silly I must feel on account of this being my initial experience of that which they offer onto the ever-thirsting extreme audio masses.
The Crimson Temple is the bands seventh full length within a discography that spans over thirty-five years.
Stylistically, the album borrows heavily from melodic Heavy Metal, has its fair share of Folk essence and oozes atmosphere by way of synth created accompaniments. The whole is likely not what one might expect given the BM label description. However, the audio is exceptionally easy to appreciate. Vocals, arrive by way of the only original member (Stefan Necroabyssious) are of traditional origins, and delivered with enough bite and venom to please even the most devout purists among us (you know who you are!). Cultural flavors are infrequently peppered throughout, fantastic touches, accompanying diverse composition arrangements, to aid in the audios undeniable, often lulling, hypnotic, appeal. Varathron’s percussive approach (it might be mentioned) recalls another Greek acts output, namely Rotting Christ. Although there’s certainly enough individuality here to be able to differentiate between the two.
In short, The Crimson Temple is arguably an album one would not expect from an act with journeyman status. One might assume bearing in mind the bands celebrated history and longevity that this might be a watered down, or a phoned in affair.
Nope. Not at all!

_{And in all their black-cottoned glory the band themselves!}

Not here.

If anything, this is a prime example of that which is possible when one decides to meticulously craft without fear of the possible reprisal resulting from the tinkering of assumed BM parameters. And don’t think for an instant that this doesn’t deliver that which fans demand. This bears the atmosphere, a wicked mixture of melodies, swiftness in all the right places, cresting riffs, archaic textures and an exquisitely molded palpable essence which enthralls. An album showcasing a multitude of ingredients, a recipe delicately produced by master craftsmen making for a result that’s well worth the wait. Or for those like me experiencing Varathron for the first time an excellent jumping on point within a discography which promises to be intoxicating.
96

That’s it,
I need a nap.
B

Scorching the Retinas- Glorious

Another Glorious Movie Review

Welcome to yet another Movie Review which literally no one will read (a heading I’m pondering upon using in the near future). In this entry I’ll be dropping thoughts upon a(nother) film within my collection that has taken me a great while to actually pounce upon. The film in question stars two actors who require little introduction; Ryan Kwanten famous for his potrayal within the HBO blockbuster, featuring writhing nekkidness and plentiful crimson, series True Blood, and J.K. Simmons whos been noted lately for his part within humorous insurance commercials but also his stunning performances in Whiplash, and a media mogul everyone loves to hate within one of the many recent Spiderman franchises on offer.
This isn’t all that Glorious offers. Other than a moniker which every fiction writer is more than willing to abuse, the film also showcases cover art that screams “stop-what-you-are-doing-and-pay-attention! Vivid purple, pink and blue spark undeniable cosmic vibes while Ryan (front and center) is angrily wielding a disembodied leg, an image that certainly raises a few queries. But let us not ignore the tentacles in attendance. Now, I’ve been fooled in this regard before, so I won’t state without reservation that this is another Lovecraftian offering. However, I will add (following a spot of research) that Glorious is based upon a short (“Out of the Aeons” first published in Weird Tales magazine 1935) by the Master of the Otherworldly Deities himself.
Onwards…

Glorious (USA) 2022
Writers – Todd Rigney, Joshua Hull & David Ian McKendry
Director – Rebekah McKendry
Runtime – 79 minutes

A gay ditty (a happy musical number from the 30’s) introduces the film and Ryan. At the wheel it appears he’s been driving for some time, is exhausted and prone to bouts of nodding off within which vivid nightmarish scenes assault his senses. Pulling into a rest area he stumbles upon a vending machine. Details around him compile to ramp up the sudden blossoming enigmatic qualities and the films tone darkens somewhat adding to the intrigue. Soon it becomes clear that Ryan appears to be running from something, someone, or the ramifications of his actions. A prolonged evening of ridding himself of memories, via immolation, while embracing a bottle of liquor brings him unceremoniously to a bathroom stall, a purging, and the warm rich voice of J.K. Simmons. It is here where the film takes on an even more bizarre tone (and I still haven’t supplied any more spoilers than the DVD’s box art synopsis). Forget that the rest areas bathroom stall is devoid of toilet paper, the room is sans adequate operational plumbing (somewhat typical operating procedure I’d say), that there’s a huge mural depicting a triple breasted, sea creature esque goddess of sorts perched upon a mountain of skulls and a mysterious figure in an adjacent stall boasting the somewhat puzzling penchant of wanting to spark intellectual conversation whilst in the bathroom. There’s plenty more going on.

_{likely in competition for “the worst toilet in Scotland…” (Trainspotters) yet its not in Scotland.}

Queries wrap around enigmas which frolic with multi-faceted mysteries, and I’m left utterly enthralled.
Part way in one discovers that the dialogue, the interaction between Ryan (known here as Wes) and the mysterious stall occupant (the voice of J.K. Simmons), is what drives the movie, the writing is sharp, intelligent, witty (in a deliciously dark way) and doesn’t seem at all forced. And although Glorious has its fair share of effects, often showcased in not quite the way one might imagine, the flowing narrative is that which truly takes the breath away; a precise all-knowing presence conversing with Ryan (a figure mired in regret) trapped at the behest of fate (ever-attempting to awaken from what he can only assume is a drug addled interlude). Two figures strangely entwined within the bidding of an unfathomable entity.

_{Ha! Look at me now Sookie!}

Glorious is directed with undeniable style and panache. It’s hard to think of another toilet stall based celluloid entry which has garnered my interest in such a way as this (“Stalled” is in another league altogether, nowhere close). The score/soundtrack only increases the appreciation of scenes which though so fantastically strange are so easily consumable. Ryan’s acting is top notch, his is a character who effectively displays a wide range of emotions ranging from the obvious dismay, shock and incredibility to sorrow, regret, denial and frustration. Not to mention that the rich, timbre and delivery of J.K. Simmons voice fits his character to a tee (this amazing attribute can also be found in a slew of video games and the not quite so family friendly animated superhero series entitled “Invincible”).

_{Let it be known that I don’t actually make a physical appearance in this film. Just so we are crystal clear.}

Among other stunning attributes Glorious is also incredibly quotable, oftentimes  wickedly displaying its sense of pitch levity (that fits the films tone perfectly). Quotes such as; “May I remind you that you were perfectly willing to give me your penis a few moments ago…”, “excuse me for being a tad selfish…”, and (but not limited to) “…it’s on the other side Wes…” raise smiles while also elevating the nature of Wes’s mind boggling plight to a relateable level. After all, who doesn’t try to diffuse horror and the unimaginable with humor? The stall itself isn’t without the most essential mod con of the ‘drifter’ lifestyle, as well a grisly image to get some in the required mood.

Trailer courtesy of IGN

In short, and to bring this waffling diatribe to a close, I’ll happily report that Glorious is utterly captivating, aided by stellar performances, menacing atmosphere, wicked visuals, an excellently composed twisting storyline, and exquisite directing. In short  a transfixing example of Lovecraftian lore transformed in celluloid form. A film that held me in thrall throughout.
Regardless of whether you’re a fan of the H.P mythos, a casual genre fan, or a rabid aficionado, I recommend you add this to the watch list, and pronto.

Cult

Scorching the Retinas – Monster Party

Another Indy Celluloid Entry – Monster Party

Welcome back. Recently I found myself contemplating my physical media cache. I have a small library of genre films, a couple of shelves of “collected” genre films, a shelf or two of martial arts films, a small space reserved for questionable films (including the uncensored “Serbian Film”), an overflowing area featuring numerous and genre diverse VHS entries which I really need to look for a player in order to enjoy and a general DVD area which I share with my loving spouse. In essence a few bookcases overburdened with features which are not quite wholesome family entertainment, but close enough. Scouring my collection my digits alighted upon an entry whose title alights a veritable smorgasbord of possibilities. Alas, this isn’t what many might assume, it isn’t an over the top live manga entry, neither is it a vintage cartoon-esque NES game, or a high budget special effects extravaganza showcasing Lovecraftian entities knocking back steaming beverages (of dubious origins) whilst frolicking with an array of creations from the Universal Film catalog, but rather an intriguing predicament set in the Malibu Hills. Slightly disappointing, if truth be told, but I’m still on board.

Here are my thoughts.

Monster Party (2018)
Writer/Director  – Chris Von Hoffmann
Runtime – 89 minutes

_{trailer courtesy of Rapid Trailer}

Forced to pay a gambling debt for his father, Casper enlists the help of his two best friends in hopes to keep debtors from turning up the heat. Literally.

_{OK gang, let’s steal some “shit”.}

The job seems simple enough; get in, pretend to know how to cater to the rich and powerful clientele at a swank soiree, and get out with as many valuables secretly tucked away as possible. But all is not quite as simple as it at first might appear. The gathering is an exclusive, invite only, event. A support group celebration for recovering serial killers.
An intriguing story, and strangely, I haven’t given away any spoilers just yet. As this is all transcribed as the movies synopsis on the box art. So what gives? Where’s the mystery?
Apparently, there is little. The movie knows where it’s going, likely too does its audience and it gets to the hoped for destination successfully through the utilization of a introduction and utilization of a fantastic cast. There’s a great many faces featured here that most will be able to attach to a handful of successful features; including but not limited to “John Wick” and a series entitled “The Boys” which through its three seasons and a spin off has taken the world by storm.
Monster Party boasts a delightfully unhurried pace, though isnt afraid to shock with its ‘loaded’ dialogue, palpable creepiness factor, and initial octane fueled ‘plummet’.

_{“Manga. Manga”. Whoops wrong film!}

Once the stage is set the action is thick and fast, commencing with a wicked juxtaposition of scenes; one delivering a soulful confession, the other a vicious hack-tastic relapse. The remainder of the film plays out along ‘cat n mouse’ (stalker slash themes), us versus them lines (showcasing the elite and the struggling lower class), with definite Purge, Straw Dog and even Panic Room vibes.
Strong characters lend this an almost palpable edge. Erin Moriarty (Starlight of The Boys) a beauty with a look which screams innocence incarnate, portrays a sibling convincingly caught in the middle. Whereas, her sibling Elliot, Kian Lawley, plays a psychopath (who’s easy to dislike from the very first appearance) with shocking ease.
Plot twists lend this an edge over the traditional ‘paint by numbers’ type slasher affair with Milo, Lance Reddick (John Wick) leading the charge. Further text upon this details would surely place this deep into spoiler realms, so I’ll leave it at that!

_{*Breathes Heavily. I was in 100 episodes of Nip/Tuck, and I’ve also played Victor Von Doom. Does that excite you?}

_{Wait, Wait, Wait! For the record we do have a SPF budget we have to adhere to.}

Other standouts include Patrick played by Julian McMahon (Nip/Tuck and Victor Von Doom of The Fantastic Four films) whom I somehow seem to constantly confuse with Stephen Moyer (True Blood). His is a patriarchal role, an overbearing dominant type personality, a head of household trying desperately to hold it all together whilst simultaneously oozing a menacing aura.
Though not over the top, wall to wall, the effects are complementary, as to is a delicious slathering of dark (gallows) humor which many of the parties attendees unabashedly exude. Other elements making for a fantastic viewing experience includes characters one can easily root for, and a story which doesn’t necessarily follow traditional slasher parameters. A definite aura of maleovence is dense throughout, accentuated by a score which successfully heightens the films tension and a certain, hey this isn’t based in a cabin, the woods or the derp South refreshing nature.
All in all, this was a surprisingly decent watch. Sure, there were predictable moments, but appreciatively clichés are tackled, abused and spat upon. There are instances that make one want to yell at the screen in disgust and revulsion, and others in which one will take a moment to breath “What the F-!” A wicked element which makes any genre film worth it’s salt (whatever that means?).

_{What? We can’t kill everybody?}

It all makes for a fantastic waste of ninety minutes, a well crafted SnS which thankfully doesn’t rely on a masked figure, a mutant with a taste for blood with a murderous chip on their shoulder or any other beaten to death trope which the genre seriously doesn’t need to keep rehashing anymore. Seriously, who needs a Jason part… (I’ve lost count at this stage) no matter its ‘off the beaten path’ location, or another TCM? I’m done. Monster Party included just the right amount of creativity, the laughs, the gore, the middle finger to standard assumed genre troupes and plot twists that kept me interested for the features length. Give this a watch, don’t let it fall into obscurity.

8

Until next time,
Cult

Abrasive Audio – Reccs and Such

Laying Waste to the Metal Scene (March 24)
(aka Albums I’ve Missed & Others Demanding Attention)

Hello, and welcome yet again to another foray into the written dissection of extreme audio. In this entry I’ll be turning the attention toward a wide array of albums plucked from a recent calendar of releases. A few here have already seen the light of day whilst others are only just now about to be able to do so. All are releases which have either been highly praised or that which have somehow up until this point escaped my full attention albeit through no fault of my own (naturally, I’m full of excuses and arenas to which I can and often will point any blame). But enough of the waffling prose, the grammatically degenerate bollocks, the anticipation…
What say we jump in already?

Vomitory (Sweden) – All Heads are Gonna Roll
May 23
Metal Blade Records
It’s been a while since the last Vomitory audio assault. Many thought the legendary act were done. An act in the same vein as God Dethroned and Unleashed. An outfit who undeniably helped form the Thrashier Death darker side of the DM arena. Behind the scenes however, an air of relaxation, it appears, has spawned a regeneration, a reinvigoration, of sorts. And this album I’m pleased to report displays an act at the top of their form, a collective of journeyman musicians unafraid to tinker with (what many perceived) their undeniable style. Imbued with the undeniable melodic, yet brutal, swagger of that which has been composed before and accompanied by a myriad of twists and turns this serves to undeniably hold the attention, perking the interest, inciting the limbs to movement, of veteran, rabid, and casual fan alike. These guys aren’t through, the legends continue to entertain and influence.

https://vomitory.bandcamp.com/album/all-heads-are-gonna-roll

85

A RECC from LFCM (Twitter)
Suffer (USA) – KonQbine
July 15
Graves Media
Suffer are a grand example of an act who apparently have either done one of two things rather successfully; the first being the inability to gain a lasting cohesion, the second managing to get a foothold upon the scene.
This is the acts first LP (or full length within a career of 34 years). Suffer bears a discography is largely comprised of demos, EPs and compilations.
So then, how does this fare?
Just wow. With the audio in mind I cannot fathom how the act did not find themselves under a larger labels microscope. Immediately upon hitting play one notices that this isn’t what one would assume based on the acts geographic location (South Dakota,  USA) which would make me think more of Blues, traditional Rock and the like. Rather than an American tone, obvious mid-era Carcass worship (in both guitar tone and vocal approach) finds itself nestled within a style which is notably OSDM and so much more. There’s indications and teasing of certain passages breaking away from the assumed norm, other instances which display wicked pace transformation, and plentiful examples of wider than the aforementioned influence yet a fruition and full realization within the albums composition that’s appreciatively (and pleasingly) far from furiously aggravating copycat arenas. This might not be an album which grabs the immediate attention, it took me a second spin, but once it grabs ahold it makes one more than eager for more. Here’s hoping for another.

https://suffersd.bandcamp.com/album/konqbine

91

Kosuke Hashida (Japan) – Justifiable Homicide
April 24
Horror Pain Gore Death Productions
And how can I not find myself distracted by an album featuring (the “villian” from the 1985 cult movie House) Big Ben on its cover?
I can’t. Seriously.
This is a debut hailing from Tokyo from an artist who’s formerly covered live duties for Abysmal Dawn.
Intrigued yet, sure you are.
But it gets better. The album contains ten tracks and runs for about the time it takes for one to think of not much else other than the golden era of Grindcore, after unceremoniously destroying a room full of random room contents.
This gets to the point and quick, contains enough inciting rhythms, percussive brutal beatdowns and angst to leave one sore and dazed. Stylistically this brings to mind a wide array of influences, notably Lock Up, Oxygen Destroyer, Werewolves, Pig Destroyer and Napalm Death and is set to please fans of the aforementioned as well a somewhat similar wide swath of acts who take pride in practicing the art of bludgeoning brutality, of the Old School variety, slathered with undeniable groove. One of my more recent faves from the HPGD roster.

https://hpgd.bandcamp.com/album/justifiable-homicide

92

Bonestorm (Columbia)  – Under the Sight of Time
February 24
Green Revolution Productions
And that was a pleasing surprise! DM in an Old School vein with, it must be said, similarities to the almighty Bolt Thrower. Dirge similarities, pace to get any pit swirling in a killing frenzy and vocals of the brute variety which fit perfectly.
Place this within the albums you should discover stat folder.

https://bonestormdeath.bandcamp.com/album/under-the-sight-of-time

86

Angerot (USA) – The Profound Recreant
March 23
Redefining Darkness Records
If you’re anything like me (I’m sorry) you might confuse Angerot for a European outfit, even though you’ve checked several times (each time a new release invades the senses) to see that they originate from South Dakota. Theirs is a bombastic grandiose style; audio which evokes a well known Swedish tone without bringing to mind thoughts of litigation, and is far removed from repetitive unimaginative chuggery. This album touches upon Doom Death realms as well Blackened arenas, mixing melancholy with the majestic as well the enigmatic, an intriguing addition of medieval introductions and essence adds weight with masterful builds attributing to tracks with definite staying power. Overall the album bears remarkable qualities, delivers from its first to last note, and is yet another strong addition to a discography proving that Angerot are indeed a Midwestern DM force to be reckoned with. (Fun fact; Angerot and the previously mentioned Suffer share members.)

https://angerot.bandcamp.com/album/the-profound-recreant

90

Cruz (Spain) – Confines de la Cortura
September 22
Nuclear Winter Records
There are s few names in the scene which should honestly be household names, other than those already heralded as such. Cruz are one such act. With only a pair of releases and a demo to their credit this seems a mighty statement to utter (or even type) but bearing in mind the quality these affairs offer there really is little argument. Their 2016 offering “Culto Abismal” hit the scene like a continent leveling natural disaster with a multitude left wondering where the unholy hell the talent originated. How and why was a debut such as this possible? Well, I’m here to say Cruz have done it again. OSDM values are front and center, groove, brutality and rhythms leave one reeling, the tone is dense, a dirge of a kind slathered in delicious HM2 values. Compositions are exquisite; dense and dissonant yet busy and then there’s the groove again, making one ponder upon a variety of similar acts ranging from Entombed, Bones and Bolt Thrower. Yet, somehow Cruz also manages to weave cosmic textures without resorting fully to the audio likes of that which Tomb Mold and Gatecreeper peddle. Multi layered yet surprisingly accessible this is another notch on the belt of an undeniable genre champion. If you haven’t yet laid ears upon Cruz, make time to do so. You will not be disappointed!

https://cruzbcn.bandcamp.com/album/confines-de-la-cordura

94

Engulfed (Turkey) – Unearthly Litanies of Despair
April 24
Me Saco Un Ojo Records
My first experience of Engulfed came by way of “Vengeance of the Fallen”.  And although it was merely four tracks, I was quite literally floored. Suffice it to say that when faced with laying the senses upon another (an LP no less) I became rather excited, and salivatingly happy in order to be able to do so.
Weaving the same complex spell which transfixed me upon first introduction Engulfed again bring the carnage, the rumbling chaos, the menace. Nestled within the miniature space between brutal, technical and traditional, is where this resides albeit viciously unhappy and able in an instants notice to decimate the boundaries of any of the aforementioned genres. Stylistically the album brings to mind a smorgasbord of influence; Immolation, Morbid Angel and a litany of others to a lesser degree. Impish menace and heady diabolicalism are unmistakable, rhythms are appreciatively varied, a smirk inducing concoction mixing dirge sensibilities, a remarkable archaic aura and wicked compositions showcasing pace transformations and a transformative nature which successfully keeps its audience wide eyed, sweaty, unsuspecting and yearning for more.
This right here is prime, top notch DM, which was well worth the wait.

https://engulfed.bandcamp.com/album/unearthly-litanies-of-despair

96

A Recc from The Twitter Metal Commumity
Eternal (USA) – Cryptic Lust
March 24
Raw Skull Records
If it’s not the blue tone, it’s likely the Italian retro Gothic horror art which grabs the attention. A scantily clad mistress of the dark calling upon her cadaverous companions to do her unholy bidding. But also for me it’s the fact that this act hail from the same state, Arizona, I resided in for close to thirty years. But enough of that!
Diving into the audio itself brings the stark realization that the cover isn’t the only factor which deserves attention.
Compositions are undeniably Old School in tone and bear a wicked vintage European aura, Morgoth, Unleashed and Asphyx among the chief perpetrators, sparking both nostalgia and instant appreciation. Stylistically there’s definite indicators that other influences play an important role and originate from a myriad of source.
Definite menace exists, a foreboding nature which seeps from every note adding to the albums enjoyment. Rhythms are delightfully varied in pace and mood, melding Thrash, DM and Doom elements in such a way as to keep fans of the new school and those foremost within the scenes formation twitching in excitement and anticipation.
This is a fantastic listen, it grabs the attention fast, keeps it and is well-worthy of the praise it’s been given.
The future is bright indeed for this talented bunch, and I’m excited to hear more, as should you.

https://eternalaz.bandcamp.com/album/cryptic-lust

95

Unleashed (Sweden) – No Sign of Life
November 21
Napalm Records
Unmistakably Unleashed but with a slight rawness ala Master-esque production. Too viking in tone for Melodic Death, not quite HM2 enough for typical Swedish DM and not downtuned enough for the dense landscape/tone that is Old School. Unleashed have their own sound, this time with a delicious twist to keep naysayers from spouting that all their albums sound the fn’ same. Put this up there with Across the Open Sea and Victory in terms of riff structures and melodic qualities.
The flagship act of the vintage era of Century Media are back!  And this demands attention!

https://unleashed.bandcamp.com/album/no-sign-of-life

87

Alkhemia (France) – Abraxas
March 24
Malpermesita Records
There’s so much noise out there that is rather daunting pondering upon where to start exploring, especially when most within the seething rabble vie constantly for attention. Imagine then my surprise when I stumbled upon both a new act and label. Alkhemia are from France, and play BM. If you’re not excited yet, you should be, as France and BM fit together in a sentence to evoke undeniable expectations based on what’s gone before. And, I’m ecstatic to announce this is a debut which fits the same parameters. Unyielding in its blast beat composition, it also boasts  melodies of the most hypnotic qualities. A vicious vocal approach keeps the rabid fans at bay whilst the whole points to a debut exuding a confidence and experience well beyond its years. Atmospheric, melodic and wholly intoxicating this nods to the old school whilst pointing the way forward. In my opinion this an album that should be heralded as a Top of the Year contender (yes, even this early on) and most certainly has my attention, as it should even those whose tastes rarely touch upon BM arenas.

https://alkhemia.bandcamp.com/album/abraxas

92

Crystal Coffin (Canada) – The Curse of Immortality
October 23
Independent
For those wondering if this acts first album was a one off (huge) success. I will say yes, although this is just as good. Blowing apart the notion that concept albums are normally quite difficult to get into this much like it’s predecessor has a definite theme (much like what’s gone before, also ‘science and the mystery of consciousness’ based) which is extremely difficult not to get behind especially based on the mind bogglingly easily consumable this is Black Metal though it’s not your parents Black Metal style. I honestly have no idea how Crystal Coffin have done it again, “The Starway Eternal” was stellar in its delivery, diverse yet far from off-putting experimental approach to tackling the genre and boasted elements which though unpredictable only boosted the albums overall enjoyment. This offers the same, though within a slightly different template resulting in an appreciation which only leaves the listener hankering for more.

https://crystalcoffin.bandcamp.com/album/the-curse-of-immortality

94

Overkill (USA) – Scorched
April 23
Nuclear Blast Records
Life’s decisions sometime come back to haunt you. In this instance it was my decision to not give Overkill a chance after thoroughly enjoying Horrorscope in my teen years. I quite honestly very nearly wore the tape out! I am still dumbfounded at my lack of sticking to the ‘fold’ as it were. But now I’m back. And wow! I’ve read a few words on how impressive this is, but never fully expected nostalgia to come flooding back with the force with which it has. This obviously isn’t the aforementioned album, but it does still reek of the same trademarks; the Blitz vocal assault, rhythms which are impactful, blunt and undeniably Overkill without resorting to this track sounds like this track dynamics and varied rhythms, riffs which are arguably chuggery though yet ‘cataclysm within a moshpit frenzy’ inducing. I’m pleased to announce there’s enough variation here to please most every Thrash aficionado; Crossover elemants ala gang vocals, a smorgasbord of pace, shredtastic leads, and a variation of style the band is known for.
The Dark Lord only knows why I allowed the bands putput to fall to the wayside. Perhaps it’s time to include Overkill into the Big 4 now that one member in particular has decided to “opt out”?

https://overkillmetal.bandcamp.com/album/scorched

89

Atrexial (Spain) – The Serpent Abomination
March 24
Non Seviam Records
Blanketed in a grandiose nature ala Septic Flesh and Behemoth, this album offers an unrelenting tableau of freezing, stark, rhythms, a ritualistic nature and an atmosphere basted in archaic dissonance that one could easily lose oneself within. Epic track lengths and mood evoking melodies heighten the already incredible listening experience to stellar arenas.
Harrowing, furious yet strikingly emotive this is a considerably entertaining audio affair that brings attention to all that the realm of Blackened Death offers.

https://non-serviam-records.bandcamp.com/album/the-serpent-abomination

93

Lutharo (Canada) – Chasing Euphoria
March 24
Atomic Fire Records
Power metal collides with melodic death with just amount of symphonic nuance here. Overlaid with an impressive vocal range, emotional charged lyrics and definite oomph courtesy of Krista’s (likely ironclad) vocal chords, as well soaring solos, limb twitching leads and more than several albums worth of memorable instances. The whole is an impressive package (if there’s even an ounce of justice within the scene) likely to appeal to a wide swath of fans from across the extreme audio spectrum.
Melodic enough and accessible for a radio audience yet impressively charged to sate the thirst of those wandering between genres, undecided as to where their attention should be focused.
Highly recommended, for fans of later Arch Enemy without alienating those who are also able to enjoy both traditional HM and Power Metal arenas.

https://music.youtube.com/playlist?list=OLAK5uy_ksdAm1fdbGdf-25pNLMDJaEFKjeSLIuQc

89

And that brings us to climax of this Abrasive Audio entry. Here’s hoping you can tell how excited I am about the above releases. My thanks for making this far and continuing to support the scene. Feel free to comment, suggest acts or albums worthy of discovery, and/or share this and the love of the scene.

Cult

Scorching the Retinas – Into the Abyss

Into the Abyss
(An Argentinean Lovecraftian Cinematic Affair)

Please excuse the assumption. This might or might not actually be a Lovecraftian themed film. I see large creatures of unknown origin, sea creature type appendages and a drab, unforgiving, landscape and I immediately latch upon the obvious. Please accept my apologies in advance before I continue to discover that the story here might be something completely unrelated. Alas, this still remains to be seen. One thing I do know for sure however, is that there aren’t too many films from Argentina which have managed to make their way onto the shelves of my local big box store (not a single entry of the “Plaga Zombie” franchise made it). This, obviously, is one of the main reasons this found its way into my possession. And apparently why my digits have sparked to life in the manner in which they currently prompt feverish scribbling activity.
In regards to that which is on offer…

Into the Abyss (Argentina)
2023
Director – Matías Xavier Rispau
Writers – Boris C.Q. & Matias Xavier Rispau
Runtime – 105 minutes

Bannon (played by Martin Rispau, likely a relation of the director) is introduced within the confines of a car in a darkened alleyway. He’s alone, hungry and scavenging for anything resembling sustenance (did I mention he bears certain similarities to a young George Eastman from many of  D’Amato’s infamous films; including, but not limited to, “Erotic Nights of the Living Dead” and “Anthropophagus”). The world, it appears, has been turned upside down. Strange lights in the sky have evolved into something that’s infinitely more troublesome than merely a rumor, a whisper, a long discussed conspiracy or a threat to the next Presidential election. Visitors of unknown origins have arrived and they are anything but friendly. Danger lurks at every turn, shadows pounce, a familiar noise could mean anything and originate from likely a myriad of unnatural source.
That, in essence, is the spoiler-free synopsis. The film I’m happy to announce works successfully on several different levels. The director and crew have excellently crafted a viewing experience fraught with tension, a believable environment far removed from the everyday and a commendable portrayal from a competent albeit small cast. Standout and especially well executed themes include a characters spiraling descent into madness (coupled with an unwillingness to separate from the previous normal everyday), and the sheer determination to survive.

_{Trailer courtesy of Rapid Trailer}

Although not exactly what one might assume, the film doesn’t develop into Lovecraftian realms as the cover and title largely suggest, neither does it display a myriad of monsters, other than a pair of HG Wellian War of the World’s type arthropods and a costumed character who appears type Genestealer (any Space Marine fans here?), and part bargain bin outfit Alien. So for those looking for creature shenanigan’s this feature likely isn’t for you. However for those with a willingness to be surprised, a penchant for a well crafted Indy production (largely dependent on character development rather than action and effects) and a soft spot for lighting effects and exquisite cinematography this might (at a stretch) hit the spot.

_{You want my wha-?}

Into the Abyss has its moments. It bears a soundtrack which works (to effectively build emotion) and isn’t dependent upon, and largely consist of, popular music for its familiarity. It boasts commendable acting which certainly aids in the visual consumption and mental processing of that which is fictional, foreign, stimulating, and a backdrop which has been expertly chosen to portray that which is bleak, unforgiving yet still quite familiar. The tension is at times palpable aided largely in part due to character portrayals which are surprisingly believable. In instances the visages of sheer terror transport me back gleefully to European genre affairs from decades past (Fulci, Bava, D’Amato come to mind) the result is a visual journey one can get caught up into and easily find themselves developing strong emotions toward.

_{More box art}

On the other hand however, the film is misleading, the accompanying text and box art promises galactic struggle (the likes of which fans of movies similar to Skyline would no doubt appreciate), action, fantastical monsters (this is where the Lovecraft assumption comes in) and most of all frantically wriggling tentacles, and a great many of them (of which there are actually here very few, if any). The action in this regard is at a minimum and other than a few examples of exchanged firepower one would assume the only threats come by way of the aforementioned single “costumed” gymnast and CGI anthropoids which barely seem to move at all.
Definitely not for those waiting a fireworks, stunt fueled, extravaganza with a story which has its loose ends tied up neatly together as the credits roll, this is more for those who celebrate the Indy scene, rising talent in directing, writing, acting and (in this instance) cinematography arenas. A celebration of that which one can produce with a severely limited budget. Into the Abyss is a huge success in that regard, but in the other (that which most seriously hoped for) somewhat a disappointment.
6

Cult